Nadira Jamal's roller coaster

Nadira Jamal’s Rock the Routine — reflection and a special offer

The first time Nadira Jamal ran her Rock the Routine course, I was there.

I was also the mother of a three-month-old baby and had just moved to a new country, but I was there.

So it was unlikely from the start that I would see it through, but I did work with the program as long as I could.

Nadira’s just announced that she’s running the program again, and this time, alumni can join — both to do it, and to be a resource for new participants. And I’ve signed up. Here is why.

Rock the Routine is a course designed to teach you how to perform a full, traditional six-part routine. You know, old school Am-Cab. You go through strategies for the Introduction, Veil, Middle Section, Chiftetelli, Drum Solo, and Finale. You not only learn how to keep an audience’s interest throughout an entire show, but improvisation strategies for each individual section, along with music tips — the whole deal!

Now, I’ve only done troupe performances, never a solo of my own. So it’s pretty unlikely I’ll be doing a full six-part routine on a stage anytime soon. But for me, it’s not really about the routine per se.

What I liked about Rock the Routine were all the little, manageable assignments. Nadira basically teaches you how to improvise dance in a structured way. Or how to structure choreographies, perhaps with some give built into them for improv. I do want to perform solos this year, and since I don’t really like to perform other people’s choreographies, I need some help. I need to know how to start.

Some of the exercises are five minutes long. Some are fifteen minutes. They’re doable little bits that are practice in putting moves together into a dance, and in a way that’s effective, interesting for an audience, and establishes a certain mood. This is what I want.

My one criticism of Rock the Routine when I first did it was that it moved way too fast for me. I suspect I wasn’t the only one, because Nadira took our feedback and slowed down the pace of the course. So I’m also looking forward to doing the course at a more reasonable tempo.

So that’s me. What about you?

Well, if you’re interested in doing Rock the Routine too, you can sign right up at:

http://www.bellydancegeek.com/rock-the-routine/

As with many online courses, you can do a basic version or a premium version that includes participation in a Facebook group for support, and the full routine playbook as a download.

This year, you can get an upgrade to the premium version for free. All you do is add the PREMIUM package to your cart. Then you enter the coupon code ATISHEH in the shopping cart and hit Apply. After that, you continue the checkout process.

If you do, I get a small commission, and you get the upgrade for free. (Sneaky Nadira is getting us alums to spread the word, you see. But everyone wins if we do.)

So that’s it. I’ll be there, working on my improv skills. Will you join me?

(The header image is from Morguefile!)

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Mariyah performs a drum solo

Review of Belly Dance Drum Solos with Mariyah and Faisal Zedan

Belly Dance Drum Solos: Concepts for Dancers and Drummers is an intermediate/advanced level instructional DVD put out by dhavir productions. It also happens to be very, very good. It is rich in material, innovative in its pedagogy, and will give the intermediate or advanced student tons to work with.

But let’s get one little thing out of the way. If you are a beginner dancer who does not have a lot of moves in your repertoire, or if you are the kind of person who likes to have a teacher explain every little thing before you feel comfortable following along (nothing wrong with this, it’s a legitimate learning style), your enjoyment of this DVD will be limited. You might still get value out of watching it, but it will be harder for you to use it actively.

Belly Dance Drum Solos is aimed at students who already know a few steps (a screen at the beginning invites you to modify the moves according to your own ability), and who, more importantly, are comfortable doing a bit of follow-along and interpretation. If you are familiar with the bellydance scene at all, you know that the dance is taught in different ways depending on region and teacher. Typically, “Western” students tend to like choreographies and step-by-step instructions, whereas Middle Eastern teaching is often done by example, or “follow the bouncing butt,” and works more with improvisation. But here’s the neat thing: this DVD does both: some sections are designed for you to follow along as best you can, but the DVD also includes a full choreography that is broken down step by step. It’s the best of both worlds.

After a brief written introduction to the DVD, we have a brief warm up routine (primarily for dancers, but drummers are also invited to use it) led by Mariyah. This is not a full, thorough warm up, but rather an exercise in centering yourself using breath. Mariyah talks about how staying centered and connected to your breath is what helps you have energy for an entire drum solo (which I didn’t know), and the movements are indeed delightful. My one criticism here is that the instructions are only written on the screen, which makes it difficult to follow them during the frequent forward bends. Faisal Zedan follows with a brief discussion of the importance of posture and warming up for drummers.

Dhavir 2

The following section introduces a number of rhythms and movements that can be done to them. Included are masmoudi sagheer, maqsoum, saidi, falahi, malfouf, and ayoub. Each rhythm is shown first in notation, and then performed while Mariyah demonstrates the kinds of moves and move combinations she might do to them. The rhythms are not introduced slowly the way rhythm DVDs for dancers usually do — rather, the focus is on how they sound in an actual drum solo and how to move to them. On the one hand, I had trouble recognizing the rhythms at full speed, even though I know many of these in their slower, class versions. At the same time, I appreciated the exercise in reacting to real music, and loved seeing how Mariyah explored and varied both basic and more advanced bellydance moves. This is, I suspect, the part of the DVD I will return to most often.

In the section on “The Beat, Tempo, and Changing Rhythms”, Faisal plays two alternating rhythms while Mariyah claps along to the underlying beat. It’s an exercise in listening, and it’s one that I’m glad to have, because finding the beat is a real challenge for me. The next level would be to play close attention to the rhythms themselves, but simply holding the beat was enough for me on the first go.

Dhavir 3

Another favourite section is “Putting the Sounds of the Drum into Movement,” a kind of bookend to the rhythms section. Here, Faisal plays the “Doum” repeatedly, and Mariyah shows the sort of big, dramatic movements she would use for it. Same for Tek, Suk, and Tuq. In what follows, Faisal plays longer riffs, and Mariyah dances to them. In all of these, I simply followed along with what Mariyah was doing. It was generally pretty easy to tell what she was doing, and what I liked about not having instructions was that I could focus on different aspects of her dance — the main accents, embellishment with the head or hands, ways of moving the upper body — and try to follow along with that aspect of the dance. The “follow me” kind of pedagogy is perfect for this kind of exercise, because it’s all about getting these moves and reactions into your body in an instinctual way, not about training you that there are one or two patterns to do when you hear a saidi. It’s training in improvisation, and the more you pay attention to the details of how Mariyah interprets the music, the more you can get out of it.

As if all this weren’t cool enough, yet another section follows, this one on the structure of solos. Faisal and Mariyah demonstrate how dancer and drummer communicate at various points in the drum solo, and again, you get multiple examples of: Introductions, Phrases over a rhythm, Free or arhythmic phrases (typically in the middle of a solo), and Endings.

Honestly, it’s like these people sat down and thought to themselves, “what is every possible way we can teach how to dance to a drum solo?” and then gave you exercises for every single level. Single sound? Check. Riff? Check. Rhythm? Check. Section of the dance? You got it. And never just one exercise for each — multiple ones, so you get lots of ideas and practice. You could also just watch these and analyze, or note down moves or combos you like for your own practice.

Okay, so at this point we’re about 53 minutes into the program, your intrepid, out-of-shape reviewer is tired and sweaty, and feeling pretty satisfied with the whole thing. But — lo and behold, a choreography!

And this is what I mean about different learning styles. If the first half of the DVD encourages you to follow intuitively, analytically, improvisationally, now you get a classic choreo instruction. Mariyah shows you each section slowly and describes every single step, then she runs you through it again slowly and with guidance. Then you practice it twice at full speed following her, and another two times following her in costume (which looks a little different). Every single little section is chaptered and easy to repeat. She does no movement instruction per se, but if you are intermediate you should be able to follow along, at least at half speed. Full speed may take a bit more practice. Here is my second and last criticism: this section is not mirrored, and at one point it became quite challenging for me to follow Mariyah’s left with mine.

Because of the way my brain works, choreo tends to be something I like less than technique instruction. In this case, however, I felt the choreography was a real addition, a completion of the previous teaching, if you will. I treated it not as a dance I would personally perform, but as a series of combos that were mini-lessons in how to respond to rhythms. So I noticed that she’ll sometimes do three moves, and vary on the fourth, or the way she’ll move the movements from the lower body to upper and then back down again. Mariyah’s instruction also helped me figure out some moves which I wasn’t able to discern precisely from the previous sections. After you are done all the individual segments, there is a clip of Mariyah dancing the whole thing in costume. Your intrepid reviewer was, alas, too tired at this point to try and dance along.

The choreography is the kind that’s jam packed and complex, but lest you think that’s the only kind of drum solo there is, the last section of the DVD — about twenty minutes long — offers you five entire improv performances. I watched these while stretching, and while I was a bit tired, I could already see how different they were from the choreographed drum solo. Movements were simpler, you could see Mariyah and Faisal watching and interpreting each other’s intentions. Not only did it have the magic of improvisation, but after all the previous exercises, you could analyse these performances, see what choices each of them was making, see the little moments where things didn’t quite fit, and so on. I know some dancers go directly to the performances on a DVD, and this will be a special treat for them. Five. Five.

The production value of Belly Dance Drum Solos is very high: quality filming, in a bright, modern studio. Mariyah’s costumes make it easy to see her movements even on a small screen. The chaptering is heroic — every single little thing is chaptered, so you can repeat a section at the press of a button, and every section and most sub-sections can be reached through the menu.

Belly Dance Drum Solo DVD disc

Mariyah is, incidentally, an absolutely lovely dancer. Graceful, energetic, musical. She has great technique, but it looks like it comes out of her spontaneously, not out of a desire to show off what she can do. There is a robotic kind of festival choreography we are all familiar with, and which I tend to find rather depressing, but Mariyah’s dancing just makes me happy and hopeful about the art form. For a DVD like this, where so much of the learning happens by watching and imitating, it was really essential that the teacher be a beautiful dancer, and not merely a competent one, because you look to her for style, spirit, interpretation, not just to copy a bunch of moves.

All in all, Belly Dance Drum Solos is an excellent program for dancers who are past the beginner stage and ready to be active in their dance education. It is just under 1 hour and 52 minutes long, but it feels like much more than that because of all the different segments and exercises. I did it all in one go, but you can take the different sections on their own and study or practice with them — certainly the choreography would be worth working with in a more dedicated way to get it up to speed. I think it would also be a fantastic tool for teachers or troupes, since you have built in demonstrations and variations that you could analyse and discuss.

You can get the DVD or a streaming rental at dhavir productions, which also provided me with a review copy.

Belly Dance Drum Solos DVD cover

Review of Heather Wayman’s Belly Dance for the Busy, Everyday Woman

Hmm…. I wonder who that busy, everyday woman in the title of Heather Wayman’s new DVD is? Look, dear readers, you know I try to write reviews that give you a sense of what it’s really like to work with a DVD. For a normal person. A regular, non-pro dancer, with a practice that goes up and down. But this time I went a little overboard with the method acting approach to bellydance DVD review. In the past while, I was so busy, and so everyday, that I could barely get to dance. Due to ongoing babysitting mayhem, one cold after another, and a husband working out of town, I’ve been missing my live classes, and often finding myself so pooped after a day of work and childcare that I can hardly bring myself to pop in a video. Heather Wayman, bellydancer So I’m the perfect test case. Heather Wayman’s Belly Dance For the Busy, Everyday Woman is designed for beginners, for women who don’t have a lot of time to devote to their practice, for women who can only do a little bit at once. And this is exactly how I worked with the program. I never did it all the way through. Instead, I made smaller programs for myself by combining the warmup, one or more segments of instruction, and the cool-down. Before I get into the details of the DVD, let me give you the big picture. I had two big question marks going in: would this program be accessible to beginners, and would it really work around a busy schedule? My answer to both is yes. If you have never taken a bellydance class, with a little concentration you could follow Belly Dance For the Busy, Everyday Woman. But while most beginner DVDs give you a lot of moves but don’t show you how to put them together, Heather shows you just a few moves, but puts them into a basic choreography you can dance. It’s a different approach to beginner instruction, one that incorporates music and transitions, but doesn’t give you every move in the book. As to the busy schedule, the fact that the segments are short did make me think that, okay, even though I was tired, I could just do the warmup and one segment and still have danced a bit that evening. Once I got my computer set up I tended to dance for longer than I intended, which was nice, but not always. But here was the surprise: even when I only danced a little bit, when I did make it back to class my movements were smoother, faster, better coordinated. This happened several times, and I was amazed to notice that even a short, well-structured program could make a difference to the dancing I did in class. In other words: you can do something, even when at your busiest, and most tired. Heather Wayman demonstrating beginner bellydance moves But now let’s get to the nitty gritty. Belly Dance For the Busy, Everyday Woman consists of an introductory sections, nine learning modules, and a closing section. Introduction Heather begins by describing the program, how to work with the DVD, and how the mirroring works. Mirroring is always important, but for a beginner choreography, even more essential. She then goes through proper dance posture. Her description is brief enough to remember, and she repeats it several times, and continues giving posture reminders throughout the program. One of the things Heather does that’s unusual for a beginner’s DVD is to explain why you should hold your knees or back in a certain way — either because it affects the look of the dance, or because it can prevent injury. Mirroring, posture, healthy movement — these things are, in my opinion, essential for beginner DVDs. This is followed by a short warmup. While it is not particularly long, it is also not just stretches. Heather does get you moving enough to raise your heart rate, so you’re actually warmup. What struck me about the warmup is that it’s all done standing, and even with the aerobic movements, can be done in a small space. Great for the home learner who doesn’t want to pull out the yoga mat or push the furniture around.

Heather Wayman demonstrates beginner belly dancing

The Modules Modules 1 to 6 help you build towards a choreography by introducing around three movements and putting them into a small combination. So, for example, module 1 introduces chest lifts, vertical chest circles, and shoulder rolls. The combo is then repeated with cues, with cues and music, then just with music. And every single one of these sections is reachable in a submenu, so if you want to practice in just one way, you can. Heather works through the verses of the song, and includes enough repetition of combinations that you wind up covering quite a bit of the song with a few basic patterns. The music is fun, and the moves are cute and go with the music in a clear, easy to grasp way.

Heather Wayman shows belly dancing moves

Especially when I began working with the program, I wondered: would a total beginner do okay with this? In a sense, it’s hard for me to tell. Heather’s descriptions of movements are very thorough, often even pointing out what muscles are used to drive a move. That can be helpful for some beginners, but others just need a lot of drilling, or more basic instruction. Shimmies definitely take a lot more time and work than they’re given here. But while this video does not offer a lot of individual drills, Heather does give a lot of tips on on typical beginner mistakes or “pitfalls”, which would allow you to self-correct. The thing that I thought was particularly clever was to offer a choreo that has changes of direction, level, and intensity. When we first learn bellydance, we tend to do a lot of “four of this, four of that” choreographies, usually facing forward (to the mirror). It’s hard, at the start, to see how you can do interesting things with the movements. While Heather teaches a limited number of moves, she’s implicitly teaching how they can be varied and built into a dance — and I think this is really important. The final three modules do not teach moves like the others. Module 7 focuses on Taqsim. In this section, Heather describes taqsim, and offers examples of how to dance to the taqsim beginning of the song. (The choreo lessons begin after the taqsim.) In Module 8, Heather goes through the choreography again, counting it out, then doing it with music and cues. And in Module 9, Heather goes through the combinations and moves already covered and suggests corresponding arm movements. Special Features Under the Special Features menu, you get a series of options. The first is a written list of the combinations. Next up is a mini-lesson on possible ending poses. From this menu you can also choose to dance along with a vide of the choreo taken from the back, or you can watch the dance as a costumed performance. And finally — a gag reel. But wait kids, that’s not all! Heather also offers bonus content on her website that I had a peek at. This is only available if you buy the DVD from Heather’s website. It’s material that didn’t make it onto the DVD for reasons of time, and it includes:

  • Choreography notation in an Excel spreadsheet
  • A stream of the edited music
  • Downloadable files of the individual combos from the back view into a mirror, in a loop for practice
  • The same videos, but watchable in the browser
  • A video with alternative arms and stylizations for the combos
  • A set of bonus taqsim demonstrations to other music

Heather Wayman's costumed belly dance performance

Other notes I’ve taken a live workshop with Heather and corresponded with her via email and Facebook. (And this was, by the way, a review copy I worked with.) She has a healthy dose of bellydance nerdiness, by which I mean that she thinks. This DVD shows the marks of her thinking about how to make the material useful and approachable to the beginner in every possible way — menu options for each little section, various ways to practice the full choreo, etc. I sometimes found this a bit confusing (I couldn’t quite tell why some things were modules and other things were special features), but overall, I think having a DVD with lots of different options is a Good Thing, and a great use of the technology. The other thing I really liked, and that I very much hope other DVD producers will note, is the kind of music used in the DVD. What do I mean? Heather uses three different songs — one for warmup, one for the choreo, and one for the cool-down. All of these songs are on the same CD, Raksa With Amir: Music for Bellydance. You only need to buy one. Oh yeah, and the CD is moderately priced, is available digitally (because is a beginner really going to wait for an obscure vendor to mail them a CD?), and if you don’t want to spend nine bucks on the whole CD, you can just buy the songs individually. And the music is good. The choreo Heather teaches does not take up the whole of Halim Mix, but it occurs at the beginning, so someone looking to perform it would not have to do complicated cutting. Is it for you? If you are beyond the beginner stage, or are looking for a comprehensive collection of moves presented in a systematic way, this is not the DVD to challenge you in the way you want. If you are truly a beginner, or have only done a bit of class… if you want to start putting moves together into a manageable choreography, or even learn how to modify basic moves to make them look interesting, Belly Dance For the Busy, Everyday Woman would be a good choice. You can get it at Amazon, but the bonuses are only available if you order direct from Heather at www.bellybyheather.com. 10441961_10152095942980518_6287854576637646118_n

Blogging Project Belly Dance: Season 2, Episode 2: On your toes, ladies!

The second episode of this season of Project Belly Dance was a grab-bag of reality show tricks and twists. You will dance — but not to your own music! Some people will be eliminated, but one will be voted back in! Another will be voted all the way to the finals! And, oh yeah, how about memorizing this long script and performing it in front of a camera? In Russian!

Well, ok, to be fair, the Russian script went to Dalida, a Russian speaker. But, you know, this show had more turns than an old-fashioned telephone cord. (And if you still get that reference, or even remember phones with cords at all, go pour yourself a martini and stare a little into space with me.)

Lara cuts a fine figure on the stage

Where were we? Ah yes, the gala show after the first elimination ceremony. The eliminated contestants, sweat still glistening on their brows, now get to perform in front of an audience.
This part goes by pretty quickly, and Lara is brought back into the competition.

Now comes the really fun part. The remaining contestants are brought on stage, but then asked to improvise to someone else’s music. I found this part of the program particularly thrilling. Part of this is because I’ve been drinking Nadira Jamal’s improvisation kool aid, but part of it has to do with the fact that I think improv is so much more fun to watch. Choreos, especially when done by pros, can look impressive, but there’s often so little tension. What will happen? Well, whatever the dancer decided would happen, drilled and rehearsed and set in stone. Improv means liveness to me, because liveness has to include the possibility of disaster.

Not that you could tell when watching the first few dancers that they were improvising. Amanda Rose was all fluid perfection:

And Christina Gadea seemed to anticipate every beat:

As things went on, and after the music mixup, the dances were also impressive, if a little rougher around the edges. The main thing I noticed was that facial expressions became a lot more serious on average. That’s why when a dancer was able to communicate emotion and improvise, I tended to take notice. For example, check Maria out:

If this woman is stressed out by improvisation, she sure is doing a great job of hiding it. Her face is showing what I feel when I’m dancing, and that’s pretty exquisite.

The final challenge was a speaking challenge, because, after all, the winner is to star in one of Cheeky Girls’ DVDs. The results?

Sometimes it’s good to have a reminder that being on camera is not something that comes naturally. I have new-found respect for Snooki.

After this torture session was done, and the judges deliberated, the final six were announced: Ziva Emtiyaz (the audience pick for the final three), Tiffani Ahdia, Christina Gadea, Lara, Maria, and Sa’diyya!

So I’m thinking I want to see a bellydance version of RuPaul’s Drag U….

Against Rigidity: Some Inspirations for Improvisation

Lately, I’ve been dealing with some challenges. How to navigate being a mom — even though my expectations of myself are not high, somehow they’re still too high for the reality. How to embrace my dancing where it is, skill-wise, rather than mourning the skills I don’t have. And in my own, real-life, for-money work, how to focus on and enjoy the work I’m doing now, rather than regretting what I didn’t do before.

And so I was inspired by some recent reading. The first comes from Alia Thabit, whose 90 Day Dance Challenge I’ve been doing for the past week, and actually even managing to keep up on. (Five days out of six!) In one of her recent “love notes,” Alia writes:

Why are so many classes so deadly serious? Drilling (I hate drilling), combos, choreo, all work, work work. Why do we always have to do what we’re told? Why do we so rarely get to dance?

Students, play in class. Embellish, reinvent, enjoy yourself. Do the drills differently. Make the combos your own. Reinterpret the choreo. Stand in back, be respectful, and explain your mission to your teacher so they don’t feel the need to correct you :). But quietly get your groove on–don’t ignore the class, just give yourself permission to add your own sauce.

This is the kind of thing that makes me want to shout “YES” and pump my fist into the air. Because here’s my dirty little secret… I hate choreos. I mean, I’m not very good at picking them up anyway, though lately I have begun to see the point of learning how someone else interprets the music. But whenever I see an ad for a workshop being offered with a choreo, I think to myself, “Why would I want to dance like someone else? Would I ever really perform someone else’s choreography?”

But when I think these things, I always tend to suspect that I do so because choreos are a weak point for me. It’s also good to hear someone who is a teacher confirm that it is, in the end, about making the dance your own.

The next bit comes from an article called “Letting Go of Perfectionism and Embracing Motherhood,” by Hala Khouri. I ran across it because I’m preparing to review Hala’s DVD, Yoga for Stress Reduction. Hala describes how having children forced her to modify her perfect ecowholegrainyogaeverydaynosugarorpolyester lifestyle:

As I was faced with birthday parties with “regular” cake (i.e. the white flour and sugar kind), crying babies with high fevers, and my boys’ insatiable appetite for superheroes and dinosaurs, I had to surrender to the fact that being rigid wouldn’t serve anyone. I noticed that sometimes fighting for my ideals felt unhealthy. It came from my own fear and need to feel in control. The last thing I want to do is dump my fear and neurosis onto my children. I have had to start discerning when I’m clinging to my idea of what’s right simply because I want to feel right (and make others wrong so I feel better about myself). I’m finding a middle ground that feels balanced.

Although I have no pretensions to the kind of perfection Khouri had before, I recognize bits of this in myself. My obsessions have to do with the baby’s sleep and with nursing. I resisted supplementing with formula for months, even though I was exhausting myself with round-the-clock nursing, because I was secretly proud that the baby hadn’t touched those chemicals. And yet, once I started supplementing a bit and wasn’t so exhaused, I found I also wasn’t so resentful of the nursing, and able to do it longer. The perfect was the enemy of the good.

As different as these examples are, both are about improvisation. After all, isn’t that what we’re doing when we take on a new role? And it helps to remember — it helps me at least — that improvising is what’s most fun. Cooking teachers and food writers have started to talk about the value of improvising in the kitchen rather than following recipes slavishly, and that’s really what I love about cooking. Why would I expect myself to follow a preset model in other parts of my life?

Back to basics with Neon’s Instant Bellydancer

Every now and then you just have to go back to the basics.

What’s the context? Well, there’s a bunch of context.

I recently signed up for the launch of Nadira Jamal’s online program, Rock the Routine. It’s what she calls a “home study” course, and I’m doing it at my own sweet pace — which is to say, at the pace permitted by an international move and a baby. Although I’m unlikely to perform a full cabaret bellydance routine anytime soon, I’m finding it great. Part of what’s so valuable about it is that following along with the program makes me see what I need to work on. While Nadira teaches improvisational strategies, as I try to work with them I start to notice which moves come really easily, and which bellydance moves have become, well, flaccid due to lack of practice.

I’ve become frustrated enough with this that I decided I needed to go back to the basics. Not just basic choreo or easy drills, but the fundamentals. I didn’t want something with long explanations, but I wanted the chance to focus on the movements, to work on everything from the ground up. So I thought of Neon’s Instant Bellydancer.

Now, the two Instant Bellydancer DVDs were among the first items in my bellydance video collection. (I bought the individual videos, Instant Bellydancer 1 and Instant Bellydancer 2 back then, and years later was sent a copy of the two-DVD set for review). Although it’s really more of a movement catalogue, not a thorough program of dance instruction, I loved it. And I loved the little geometric shapes used on the screen to indicate how movements should be performed.

The videos are not set up the way a basic bellydance course often is — the easiest movements first, and then harder ones — but by geometric shapes. And so the first video, for example, features:

Horizontal circles
Vertical circles
Horizontal semicircles
Vertical semicircles
Horizontal infinity loops (aka figure 8’s)
Vertical infinity loops
And two practice sessions.

Each shape is performed with various parts of the body: the hips, the chest, the head, and then the movements are put together into basic drills.

What is it like to work with Instant Bellydancer years later? On the minus side, the lack of a warmup really stood out for me. Given that it’s for beginners, it should have a warmup, especially since the moves start to really push your muscles if done correctly. There is also a section with head and upper body circles that is potentially dangerous. Neon gives multiple, and I mean multiple, warnings to avoid these sections unless you are warmed up and have strong neck muscles, but I suspect that some people might go ahead and do them anyway.

On the plus side, Instant Bellydancer is a fantastic way to review the basics if you already really know them but are out of practice. Some videos aimed at beginners introduce movements really slowly, which can be frustrating for review. Moreover, doing these now-familiar moves again, I was able to focus on subtle instructions I had missed the first time, like Neon’s hints for hand, arm, and head movements. And finally, I noticed how lopsided I am. Clockwise, I can do everything with ease, but counterclockwise, I really have to struggle! (You can bet that when I was doing the dishes today, I had Nancy Ajram on and was doing counterclockwise circles like crazy!)

I only made it through the horizontal circle section last night, but it was quite a bit to work with. More interestingly, I thought it would go wonderfully with Nadira’s tips on making friends with your safety moves, that is, with the moves you tend to resort to when out of ideas anyway. Some of Nadira’s instruction, on her blog and on Improvisation Toolkit Volume 1: Movement Recall, involves taking a basic move and doing variations of it. And in a way, this is precisely how the mini practice sessions on Instant Bellydancer work! One program is very basic, while the other is quite advanced and sophisticated, but their methodical approaches to dance make them work well together.

Doumbek follies continue: it’s time to take off the wedding ring

I recently started working with Carmine Guida’s Baby Beginner Doumbek Workshop, a super basic and gentle introduction to the doumbek. As I wrote in the earlier post, I don’t think it makes sense to try and learn all these rhythms in a day: for beginners as rhythmically-challenged as myself, that’s a hopeless proposition!

Cross training the ring fingers!

Although I only popped the video in for the second time yesterday, the Doumbek Workshop has been with me constantly in the intervening time. Part of this is due to the brilliant idea to write down the rhythms on the inside cover of the CD. I was a fan of this from the start, and I’m even more enthusiastic now. Because, while I began working with the video by learning the maqsum and baladi basic forms, as I practiced on my own I noticed that the saidi basic form has beats on all the same accents. Pretty soon, without even getting further in the video itself, I was switching back and forth between the three rhythms, speeding them up, slowing them down, and so on.

The other thing I’ve noticed is that for the first time, I really am starting to identify rhythms in the Middle Eastern music I listen to. Not all of them, and not all of the time, but every now and then my ear will tune in and pick one out. And once I do, dancing to it becomes even more natural. This is precisely what I hoped for, and I don’t think it would have happened just watching bellydance rhythm instructionals. 

My husband, who is musically gifted, hearing me practice, picked up both the doumbek and the rhythms in a moment flat, and started filling them in. He hasn’t even watched the video, but he doesn’t need to! We’ve now had a few lovely sessions of him drumming, both Middle Eastern and other beats, and me improvising some bellydance moves to it. Needless to say, I am thrilled. I, who have never really performed in public, now get to practice improv drum solos with my own live musician!

I returned to video practice by running the maqsum, baladi, and saidi segments, the last of which felt like a repeat due to my intervening practice, although I hadn’t actually watched it yet. And then came the time, the time for… the dreaded ka.

Carmine demonstrates how not to do the ka.

My first doumbek classes were in a world drumming course, so half the students had djembes, and half had doumbeks. We learned our first rhythms holding the drums between our legs, which effectively also meant that I learned to do the ka with a few fingers of my left hand, pretty much like the tek. And that was fine, except I could also see that most doumbek players don’t do it that way. Carmine teaches a version in which the ring finger of the left hand produces the sound.

Now this is hard. I was very glad that when he introduced the ka, and most of the students in the drum circle could do it right away, he pointed out that they were repeat students and that getting any kind of ka sound on the first try was a triumph. He gives quite a few tips for placement of the hand and arm, and how relaxed they should be, that do increase my ka batting average. To my surprise, however, learning the dancey ayub rhythm actually helped me get the sound more frequently. Even though once Carmine sped that one up, I got lost again. Well, now I know what my homework is!